I don’t always agree with movie critics but this time they got it right. It is the first time that Associated Press reviewers David Germain and Christy Lemire have both selected the same film as their #1 pick. With more award nominations than you could shake a stick at (including four Golden Globes, three Screen Actors Guilds, probably a gaggle of Oscars and many, many, many others), No Country will undeniably have directors, actors and screenwriters jumping up on stage come awards ceremony time.

Equal parts thriller, western, crime-drama, and action, No Country weaves a tapestry of excellence throughout its length.

The first note of excellence must be directed at Spanish actor Javier Bardem. Probably not very well known to most American audiences, Javier has cemented himself as the leader in portraying a psychopathic killer and (dare I say it!) has surpassed that of Anthony Hopkins in his SILENCE OF THE LAMBS Hannibal Lecter role (something that I thought would never happen). Ruthless, unforgiving, sociopathic, and in desperate need of a new hair style, Anton Chigurh (Bardem) is flawless. Every time he showed up on-screen I felt a chill run through my bones (“Call it”). Absolutely perfect.

The next note of excellence must go to Josh Brolin and Tommy Lee Jones. Llewelyn Moss (Brolin, PLANET TERROR) is the lucky/unlucky soft-spoken Texas cowpoke/hunter who stumbles across a veritable fortune in drug money only to be relentlessly pursued by killer Anton. Mr. Moss’ gradual decline in health (mainly due to wounds inflicted on him by Anton) is painful to watch up until the very end. Sheriff Bell (Tommy Lee Jones) is the opposite of Anton Chigurh. He doesn’t understand all of the death and destruction laid at his feet. He longs for a time when murders were easy to track and solve, not these new-fangled deaths where bullets aren’t used (air-guns do just fine) and there seems to be no rhyme or reason to their patterns.

The fourth (perhaps this should’ve been first) note of excellence goes to the Coen brothers for their perfect adaptation of Cormac McCarthy’s novel by the same name. Many lines of dialogue were lifted verbatim from the novel itself, including the ending monologue by Tommy Lee. It’s noteworthy to mention here that the Coen brothers not only directed but wrote the screenplay, too.

The final note has to go Cinematographer Roger Deakins (he’s worked with the Coen brothers on many occasions and also did the exemplary JARHEAD work). Every scene was so well thought-out and so convincingly filmed that viewers are carried freakishly easy through this incredible story.

It’s difficult to do justice to this film with one short review, simply because there are so many great elements to it. The casting was spectacular — with Woody Harrelson (NORTH COUNTRY) and Kelly Macdonald (THE GIRL IN THE CAFÉ) pulling in exceptional supporting roles — as was Carter Burwell’s haunting original musical score and Mary Zophres impeccable costume designs.